Spidey Sense: “Spider-Man 2” Where most – even many – superhero films focus so intently on gadgetry and special effects, to the detriment of plot and character development, “Spider-Man 2” offers up exciting action and suspense sequences, while always touching on emotional points. It’s a very successful, enjoyable film.

The majority of superheroes are revenge-driven (think of the recent “Daredevil,” “The Punisher,” “Blade,” “Crow,” even “Batman”). The makers of “Spider-Man” were offered up the unique challenge of presenting a character whose motives are purely altruistic. Parker is bit by a special spider, he gets unique characteristics that allow him to save the good, help capture the bad. Despite its continual infringement on his life, he cannot stop helping people. He’s the epitome of a truly self-less person. Even his last scene in the original “Spider-Man” shows a young man – whose peers are so often driven by passionate emotions – who forgoes a relationship with the love of his life because of his “calling.”

Unlike “Batman,” “Spider-Man” and his “human persona,” Peter Parker live on the edge. Parker lives in a tenement, shares a bathroom and contemplates in his depressing one-room flat. Compare that to the high-tech basement and upper level mansion of Bruce Wayne/ “Batman.”

Director Sam Raimi (whose brother Ted offers up comic relief at the “Daily Bugle,” where Parker sells his photographs) seems to never forget anything in this film – he’s not solely caught up in Spider-Man swinging through Manhattan.

This superhero (played by the wonderful Tobey Maguire with a combination of sexiness and sweetness) is suffering, yet it’s not played in the typically annoying angst-driven “madness” manner. Instead, Parker/Spider-Man’s issues are genuine and the audience grows truly empathetic. When Parker cannot keep up with his university studies or maintain a job or have normal relationships, his “Spider” qualities and intuition are affected. Throughout the film’s storyline, Parker is preoccupied with Mary Jane (Kirsten Dunst) or “MJ” as he calls her. He strongly believes pursuing a relationship with her will endanger her and yet he remains in love with her as she is with him. Mary Jane, for her part, doesn’t understand what going on and is determined to get on with her life.

What ensues, as Parker juggles between his feelings and doing what he believes is right, is the birth of the villain Dr. Octopus (Alfred Molina), courtesy of funding from Oz Corp, now run by Parker’s childhood friend Harry (James Franco). Harry is still obsessing about Spider-Man, who he believes killed his father and is resentful of Parker’s “support” of the masked superhero.

The combination of these elements makes for an engaging two-and-a-half hours.

Equilibrium: Although little seen in its initial brief release in the theaters, “Equilibrium,” starring the talented Christian Bale, is currently making the rounds on cable television.

Whatever the administrative reasons for this film’s suppression – it was actually made a couple of years before it was finally released (from the IMDB: The film was not given a wide release because it had already run into profit as a result of overseas sales, and Miramax didn't want to risk turning a money maker into a loss.) – it’s certainly a worthwhile film. Like “Matrix,” which it will be invariably compared to, the film is set in an unstable future. Here, emotions are outlawed and the penalty is death. Citizens are required by law to inject a Prozac-like substance, here called Prozium, into their necks on a regular basis throughout the day.

Bale plays John Preston, a Cleric (a highly trained police-like official who seeks out offenders). There’s a high body count in this German-shot film, which also benefits from great production values. The sets are eerie and the costumes credible. When Preston accidentally drops and breaks his “dose,” he experiences feeling and his entire perspective is altered.

Sean Bean has a cameo as Partridge, an unlucky friend of Preston’s. Bale’s “Metroland” co-star Emily Watson plays a condemned woman, once Partridge’s lover and now the object of Bale’s newly found passion.

The acting is top-rate, with the exception of Taye Diggs who seems out of his element. Also excellent are the fight sequences, which are fast-paced and often feature new and clever dynamics.